Theatrical Elements Research Articles

Using Forum Theatre to Develop Various Levels of Thinking Skills among Moral Education Students in Secondary School

Purpose –The power of forum theatre in education and various field is well known by educators. However, the use of forum theatre in Malaysia, particularly in the field of moral education, is still lacking and limited. At the same time, the development of thinking skills is one of the aims of the moral education curriculum in Malaysia. Therefore, the purpose of this study was to examine the use of forum theatre as a pedagogical tool in developing various levels of thinking skills among moral education students.
 Method –This study adopted a qualitative research design and was underpinned by Bloom’s revised taxonomy as the theoretical and analytical framework. A total of 14 moral education students participated in this study. Data were collected qualitatively using classroom observation, interviews, and journal writing. Thematic analysis was utilized to analyse and present the findings.
 Findings –The findings of this study reveal that various theatrical activities that underpinned the four elements of forum theatre-(i) writing a script, (ii) delivering a dialogue in an anti-model play, (iii) discussion and decision-making in a forum session, and (iv) improvisation in an intervention play-show the development of students’thinking skill level such as analysing, evaluating, and creating skills. Therefore, this study suggests that forum theatre can be used in moral education pedagogy to enhance higher order thinking skills (HOTS).
 Significance –Meaningful instructional pedagogy must inspire thinking skills to foster creativity and innovation among students. This is considered an important skill in 21st century learning. Therefore, these findings are beneficial for teachers, lecturers, parents, and instructional designers to plan and implement suitable teaching methods such as forum theatre to empower and improve students’ thinking skill levels.

Lesya Ukrainka’s creativity in the aesthetic parameters of modern national puppet theatre

Problem statement: topicality, novelty, methodology of the research. The logical grounds of this article are a requirement of the scientific understanding of specific of Lesya Ukrainka’s work in the national puppet theatre and absence of articles from the marked question. Based on the comparative, diachronicsynchronic, historical, evolutional methods and principles of analytical and culturological approaches, the aim of the article – creation of panorama of the works by Lesya Ukrainka in the Ukrainian puppet theatre of last XX – early XXI century, with the exposure of specific of their interpretations, – is realized as an innovative element of the reseach. The results of the study. Lesya Ukrainka’s work, as a representation of the Ukrainian culture polyphony and Ukrainian nation’s mental horizons specificity, purchased sign status and meaningfulness of the modern scale conceptual, vivid, thematic and expression field for the intensive creative searches of modern representatives of national puppet theatre. Meaningfulness of the creative inheritance by Lesya Ukrainka in the context of the Ukrainian puppet theatre is certified by it representation on the All-Ukrainian festivals, and also activation of it introducing to the modern repertoire of puppet theatre. Research of aesthetic parameters of the specific versions of Lesya Ukrainka’s works allows to establish the presence of certain repertoire dominants – such as the “Forest song”; gravitation to implementation of the earlier not typical for the puppet theatre works as the “Old fairy tale”, and the creation of original presentations, such as the “Lesya Ukrainka. Woman fate”, “Lesya’s letters” (in particular, on the base of epistolary inheritance by authoress). The specifics of embodiment of Lesya Ukrainka’s works in the Ukrainian puppet theatre of last XX – early XX century lays in their inter-textual modification, gravitation to creation of associative artistic space and to use the unconventional systems of dolls (plane- silhouette paper doll in presentation the “Old fairy tale”). In accordance with originality of conceptual foundation of Lesya Ukrainka’s works – drama of ideas – the modern stage directors appeal to the dramaturgical type that marked by secondariness of eventfulness relatively to poetics based on updating of palette of facilities of expressiveness and ideological concepts. Such innovations in “re-reading” of works by the authoress is a dialogue of doll and living acting, that creates two dimensions in development of action (“Stone Lord”, “Forest song”), the symbolic manipulations with the piece of paper (“Lesya’s letters”), creation of synthetic artistic space of the spectacle, that combine light, color, elements of shadows theatre and theatre of reader, living acting, work with the dolls of different constructions and like other, and also intention to the conscious limiting of facilities of expressiveness (monochrome and maximum narrowing space of scenic action in interpretation of the“Forest song”). An innovative touch in the puppet versions of Lesya Ukrainka’s works is the accentuation of mental markers of the national worldview, saturation with the national attributes and folk rites, which to the attraction of contemporary artists to revive the sources of national spiritual culture. In the pluralism of puppet representations, Lesya Ukrainka’s work is marked by a general tendency to philosophical and innovative affirmation of the national foundations of the worldview and the creation of a synthetic artistic space. Conclusion. Lesya Ukrainka’s work is an open and inexhaustible thematic line for the modern national puppet theatre not only due to the lack of an established tradition of its embodiment. Philosophical, symbolic, appealed to the foundations of the national worldview the contents of her work and unbreakable connection of it with world art culture – the attributive features of the creative world of the writer, which determine its timeless relevance for contemporary artists, the conceptual and expressive diversity of its interpretations.

Актуальні питання військово-інженерної підготовки місцевості та об’єктів об’єднаних територіальних громад України

Започатковані реформи в адміністративній, економічній та соціально-політичній сферах України передбачають оптимізацію управлінської діяльності, підвищення рівня та якості життя населення, а також забезпечення мобілізаційної діяльності як системи, до якої висуваються специфічні вимоги, в тому числі підготовка й утримання місцевості та об’єктів інфраструктури у військово-інженерному плані.
 Метою статті є обґрунтування підходів до облаштування місцевості та об’єктів, розташованих у межах об’єднаних територіальних громад. Зміст підходів полягає в реалізації специфічних вимог військово-інженерного характеру з метою підвищення оборонної спроможності утримання території та місцевих об’єктів як складових імовірного театру воєнних дій. Пропонується ще в мирний час на законодавчій основі залучати підрозділи інженерних військ Збройних Сил України для виконання специфічних інженерних робіт військового спрямування в рамках бойової підготовки.

Theatrical component of protests against Covid-quarantines: socio-philosophical reflection

The socio-political life of society presupposes communication between the authorities and the people, and the people with the authorities. This communication can be carried out in various forms, including with elements of theatricality (play, performance, artistry, costumes and sets, drama, direction, etc.). The Covid-19 pandemic has largely changed the socio-political life of different countries, but has not canceled the desire of people to theatricalize this life. This is evidenced, in particular, by the protests against the Covid-quarantines, which added new techniques and subjects to the repertoire of the political “theater”. The purpose of this study is to identify elements of theatricality in protests against Covid-quarantines and to interpret them in a socio-philosophical aspect. The methodological strategy of this study is based on the concept of theatricality of socio-communicative manifestations of culture. This concept allows us to comprehend the essence and forms of existence of social reality in the dynamics of their changes with a change in the cultural (political, socio-economic, informational, etc.) context. As a result of the study, it was found that many protests against quarantine restrictions are characterized by theatrical component withe elements such as play, performance, costumes and scenery, corresponding drama, etc. This is due to the fact that any protest action (whether it be a mass meeting or an individual protest) is a public event addressed to a specific audience to which a specific message needs to be conveyed. However, it was found that in protests against lockdowns, the theatrical component manifests itself in different ways at different stage of the pandemic. During the first wave, elements of costumed performances and comic antics prevailed in them, but for the second wave mass rallies became characteristic, most of which end in clashes with the police. There is much less theatrical content in these actions. This indicates that the theatrical component of the protest action lasts only as long as there is hope for a dialogue with the authorities. When the people do not receive answers to their questions, they begin to use other forms of communication with the authorities.

Travelling intimacies, translation and betrayal in a creative geography

In 2019, we collaborated with German theatre artists to co-create Between Worlds: Outsourcing Dementia Care, an immersive, multi-media piece performed in Newcastle and Berlin. This performance work animated and staged our interviews conducted with the owners of and caregivers working in private care facilities recently built in northern Thailand to provide dementia care for overseas guests from across the Global North. This creation process also drew from interviews we conducted with the family members who had chosen this option for their loved ones with dementia. Incorporating elements of documentary theatre, movement and cinematic projection, Between Worlds was designed to bring audiences into an intimate space, drawing them close to the complexities of the outsourcing of dementia care in order to prompt public conversation and reflection on dementia care in both Thailand and the Global North. Here, we consider the performance of the play and the method that our theatre collaborators used to render transparent the process of translation within performance. We critically assess the outcome to question the possible betrayals implicit in creative and social science work and in the doing of cultural geography.

TEACHING ENGLISH BY MEANS OF THEATRICALIZED ACTIVITIES

The problem of finding effective methods of teaching foreign languages, focused on quick and easy assimilation of language material, its activation in the process of communication in various life situations, is the subject of numerous pedagogical discourse. A modern teacher is a mentor of the educational process, and is able to use a wide methodological and technological pedagogical toolkit. Among the most important problems of modern linguodidactics is the weak motivation of students to learn a foreign language in the absence of a linguistic environment. Therefore, the main task of organizing the educational process in teaching a foreign language is to develop students' interest in the language. The article focuses on the authors' practical experience on the use of theater technologies in additional language education and presents a tested foreign language teaching program. The research problem: what is the role of theatrical activities in teaching English? The purpose of the research is to substantiate the potential of theatrical activity in teaching English. The research methods used are observation, generalization, analysis. The research results: the influence of the means of theatrical activity on the process of teaching English to schoolchildren has been described; the understanding of theatricalization as an interactive educational technology in the English classroom has been presented; the experience of using elements of theater in extracurricular activities for the study of the English language have been described; the arguments of theatrical activity as an effective means of teaching a foreign language have been substantiated. Key findings: the means of theatrical activity include the following theatrical techniques: roleplay when reading foreign texts, a theatrical story about a character / historical personality, a scene, sketches, games, etc. Theatrical technologies complement the traditional form of the classroom, contributing to the development of open dialogical communication, the emotional component, broadening the horizons of students, which makes it possible to expand the range of opportunities for teaching a foreign language.

The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)

The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making with elements of instrumental theater. The article outlines main parameters, notes the stylistic and timbre diversity of the work. The compositional methods and techniques used in the trio are considered, including sonorism, aleatory, pointillism, happening. The role of the prepared piano at sound color is established, and other sound, noise and stage effects in creation of a sound image of a composition. The significance of the latest sound formation principles laid down in the work, the urgency and influence of the author's innovations on modern chamber music are revealed. The proposed analysis should contribute to a fuller understanding of avant-garde trends and their manifestation in chamber music of the second half of the XXth century and a wider introduction of V. Silvestrov's works to the chamber and ensemble repertoire of modern performers.

СОВРЕМЕННОЕ ТЕАТРАЛЬНОЕ ИСКУССТВО В ВОСПИТАТЕЛЬНОЙ ДЕЯТЕЛЬНОСТИ ПЕДАГОГА

Contemporary theatrical art is considered in the article in two aspects: as a way to solve the problems of educating students (education by means of theatrical art) and as a means of preparing future teachers to solve educational problems (theatrical pedagogy). At the same time, educational activity is understood from the standpoint of a culturological approach as a purposeful activity of a teacher acting as an intermediary between a child and culture, to include students in modern culture context. The ideas about the peculiarities of contemporary theatrical art that influence the educational tasks solution are concretized: brightness and originality, which create motivation for moral problems discussion; minimalism, allowing you to focus on moral conflict; a large selection of genres, taking into account the students individual capabilities; interactive nature, allowing students to formulate, substantiate and defend their own moral position; combination of artistic and creative activity and computer technology, adequate to modern schoolchildren worldview. Theatrical art, removing the contradictions between the emotional-figurative and the emotional-logical, contributes to the personal holistic development, individuality and subjectivity of the child, allows him to experience the various situations of modern world. The scientific knowledge about the possibilities of theatrical pedagogy in the process of preparing future teachers for educational activities has been clarified: the use of theatrical pedagogy elements contributes to the students' communicative abilities development, the rejection of the stereotypical solution of professional tasks, the ability for improvisation, emotional self-regulation, flexible and productive conflict resolution. The preparation of future teachers for educational activities by means of theatrical pedagogy is considered as one of the conditions for the effectiveness of their professional activities in solving education problems. The study was carried out with the financial support of the Russian Foundation for Basic Research within the framework of scientific project No. 20-013-00809.

Insecurity: Perils and Products of Theatres of the Real by Jenn Stephenson

Reviewed by: Insecurity: Perils and Products of Theatres of the Real by Jenn Stephenson Al Evangelista Insecurity: Perils and Products of Theatres of the Real. By Jenn Stephenson. University of Toronto Press, 2019. Cloth $77.00, eBook $77.00. viii + 286 pages. Jenn Stephenson’s Insecurity: Perils and Products of Theatres of the Real examines constructed boundaries of certainty and uncertainty in types of performances that western theatre and dance practitioners might label as site-specific, documentary, and auto-drama. These are a few of the genres that Stephenson describes as “Theatres of the Real” (7). With Canadian drama as her focus, Stephenson questions how theatrical elements comment on authenticity and make claims about what is real or fake, and how audiences perceive this. The categories themselves are of less concern to Stephenson; her primary question is what ontological and perceptual potential there might be when audiences are asked to encounter what they do not know. In performance, the question of what is “real” is constantly in flux. Therefore, theatrical work that contains “real” [End Page 211] words, “real” people, and “real” places become even more productive spaces for audiences to analyze the process of what “real” is and can be. Stephenson foregrounds her expertise in theatrical form alongside a broad but necessary range of epistemological, feminist, and perceptual underpinnings. Stephenson’s Introduction articulates the book’s core thesis that working with certainty and uncertainty in “Theatres of the Real” provides one way forward in our age of post-reality by building on performance scholars Ulrike Garde and Meg Mumford’s definition of “productive insecurity.” This phrase “describes the results of an affective technique that creates a performance rupture, when real or nonfictional elements are introduced to the theatrical frame, such that the audience experiences acute postdramatic indecidability about whether one is dealing with reality or fiction” (15). “Productive insecurity” thus frames the majority of Stephenson’s analysis of what “indecidability” can offer. The act of being able to evaluate and create meaning is the “productive insecurity” that Stephenson argues Theatres of the Real provide. The book then follows categorically grouped performances to explore a range of theatrical choices that best demonstrate these destabilizing strategies. The first three chapters analyze autobiographical performances, followed by a chapter on site-specific work, and finally, the last two chapters examine immersive theatre. The Coda situates the analyses from the book within our current cultural moment of “fake news.” In chapter 2, Stephenson examines the productive insecurity and autobiographical instability within the production Winners and Losers, James Long and Martin Youssef’s two-person scripted debate with moments of improvisation. By inviting questions of truth, Stephenson’s analysis of Winners and Losers questions the productiveness of uncertainty: if everything is a construction, whose constructed narrative do we, the viewers, trust? How do we determine validity? Living with uncertainty, Stephenson argues, provides a constant questioning of how things are valued, made, and seen. Therefore, performances that blur theatrical constructs with autobiographical constructs can highlight and examine flawed value systems or judgments, potentially teaching us generous and new ways to move forward. Chapter 3 provides three case studies of community-based documentary theatre, 100% Vancouver (Theatre Replacement after Rimini Protokoll), RARE (created by Judith Thompson and the ensemble), and Polyglotte (by Olivier Choinière), along with common pitfalls within the genre. Stephenson argues that “these projects are, as all autobiographical performance is, at some level, always doomed to failure” (89). However, for Stephenson this failure is productive: it highlights how audiences should be wary of believing any one portrayal since performance can easily essentialize identities. The failure, in this case, keeps the question and value making open, especially, and more importantly, when a topic is viewed as unfamiliar by the intended audience. As a practitioner of documentary-based and community-based [End Page 212] performance, it is encouraging to hear Stephenson’s critical consideration of the ethical responsibility in these genres, especially when considering categorization. Identities shift, some identities resist forms of categorization intentionally, and other identities are in constant negotiation with socio-historical constructs. Looking at verbatim and site-specific theatre in chapters 4 and 5, Stephenson explores the potential philosophical and contextual limits of...

Death in Modern Theatre: Stages of Mortality by Adrian Curtin

Reviewed by: Death in Modern Theatre: Stages of Mortality by Adrian Curtin Julia A. Walker DEATH IN MODERN THEATRE: STAGES OF MORTALITY. By Adrian Curtin. Theatre: Theory, Practice, Performance series. Manchester: Manchester University Press, 2019; pp. 268. As Adrian Curtin observes in the introduction to his new book Death in Modern Theatre: Stages of Mortality, the topic of "liveness" has long defined contemporary theories of theatre and performance. Discussions about the so-called ontology of performance typically concern the paired ideas of presence and disappearance, recording technologies and documentation, trace and memory—all of which posit in some way the living, breathing body of an actor often co-present with those in the audience. Focusing on the work of Herbert Blau, Marvin Carlson, Alice Rayner, and Linda and Michael Hutcheon, Curtin briefly surveys theories of theatrical embodiment as a way of framing his study of how death and dying have been represented on the modern stage, proposing that "[t]heatrical deathliness may be thought to shadow theatrical liveliness" (12). Shifting his focus from theory to practice, Curtin surveys the history of such representations in the modern theatre, analyzing various aesthetic strategies used in five distinct periods to assess changing cultural attitudes toward death in the Western hemisphere. His temporal scope of "modernity" and his geographical parameter of the "West" are best explained with reference to French social historian Philippe Ariès's seminal study Western Attitudes Toward Death (1976), which Curtin uses to anchor his discussion. Just as Ariès analyzed culturally specific rituals of death to assess how social attitudes toward this universal existential experience have changed over time, so does Curtin use a comparative method in his study of theatrical representations of death in the modern period. But where Ariès's expansive study typified "modern" attitudes in the "West" according to a single logic, Curtin explores variability within Ariès's dominant narrative of the period, using the history of the stage to chart changes in secular rituals for understanding death. The book's subtitle alludes to the "stages" of grief outlined by psychologist Elisabeth Kübler-Ross in her landmark study On Death and Dying (1970), providing Curtin with a model of progressive but overlapping temporalities by which the book's five chapters unfold. The first chapter begins at the end of the nineteenth century with the symbolists, who innovated a multisensory, proto-immersive experience for their audiences in order to invite them to imaginatively inhabit a metaphysical realm beyond the material world. To do that, they cultivated a charged atmosphere of heightened sensory stimulation, using color, light, sound, and even scent to suffuse the space of the audience and blur its distinction from the fictional world of the stage. Curtin offers a fascinating history of symbolist theatre practice that is most compelling when he brings affect theory to bear on his analysis of these largely neglected because misunderstood plays. As he suggests, the charged energy that creates the shared atmosphere of a performance is nebulous, paradoxically manifesting as something both perceptible and unknowable that, in its effects, erases the felt distinction between subject and object. Examining Rachilde's Madame La Mort, Charles van Lerberghe's The Night-Comers, Maurice Maeterlinck's The Intruder, Leonid Andreyev's Requiem, and W. B. Yeats's Purgatory, Curtin demonstrates a range of techniques these playwrights used to conjure the experience of death for their audiences, along with the different conclusions each presented about this state of existence and its ultimate knowability. Chapter 2 looks at fantastical allegories of death that appeared on stage after the Great War. These include Satan the Waster by Vernon Lee (Violet Paget), The Transfiguration by Ernst Toller, and The Last Days of Mankind by Karl Krauss, allowing Curtin to explore different kinds of modernist abstraction that set theatrical elements of music, movement, light, and sound in expressionistic counterpoint to capture the shock of death by war. Chapter 3 examines the phenomenon of "death denial" in plays appearing after World War II by way of existentialist concerns expressed in Dino Buzzati's A Clinical Case, the Open Theater's Terminal (text by Susan Yankowitz), and Eugene Ionesco's Exit the King and Amédée...

Contribution of Campus Theater on Multiple Intelegence Education

Historically, theater is one of the oldest known activities. When a community will gather for a ceremonial purpose: hoping for a good game, asking for rain, or praying a long life for the new leader. Theatrical elements present in these ceremonial activities, for example, appear in singing, dancing, storytelling, and dressing up in costumes and masks of gods and animals. The actors play roles according to their respective capacities in the ceremonial activity of the ritual.

Эстетические аспекты режиссуры Марка Захарова

We present an analysis of the basic aesthetic principles of Mark Zakharov’s directing. We consider the creative path of the director, factors influencing the development of his directorial views and worldview. Throughout his career, Zakharov improved and was constantly on the loo-kout. The director formulated some principles of working with actors. Among them is the need to help an actor, directing him in the right direction of his plan, without turning him into a pawn for directorial experiments. A modern actor must constantly take into account three important theatrical elements: the material environment, partners and spectators. Mark Zakharov’s performances did not put the actor in a certain framework, but on the contrary, gave an opportunity for improvisation, active life, constant creative search. We also focus on the director's ability to influence the viewer. He was able to unobtrusively, in a comedy-musical form, convey to the viewer the most terrible events, the wisest thoughts, and this form is always perceived better, the viewer is more willing to let himself be taught. We conclude that Zakharov built his own special directing system based on his worldview.

BENTUK DAN FUNGSI SANDUR DI DESA SUKOREJO KECAMATAN PARENGAN KABUPATEN TUBAN

Sandur in his show tells about the life of people who have a livelihood as a farmer. The problem in this research is how sandur shows form and how Sandur functions. Based on the object studied, this research uses qualitative method. To discuss the form using the concept of Sal Murgiyanto and I Made Bandem which discuss elements of traditional theater which includes dialogue, decorating, dance, accompaniment music, makeup, costumes and dance. Discussing the problem of function using the concept of SD Humardani which belongs to social functions including entertainment functions, educational functions, and solidarity functions. The results showed that Sandur is a folk art in the form of traditional theater. Sandur has 3 innings in the show, namely the opening section, the contents and the closing part. Sandur's performance form can be seen from the elements of the performance consisting of dialogue, decor, costumes, makeup, accompaniment music, singing, and dance. Sandur function is classified into social functions, namely as entertainment, as education, and as community solidarity. Keywords: Sandur, Shape, Function

The Importance of Realism, Character, and Genre: How Theatre Can Support the Creation of Likeable Sociable Robots

Stage plays, theories of theatre, narrative studies, and robotics research can serve to identify, explore, and interrogate theatrical elements that support the effective performance of sociable humanoid robots. Theatre, including its parts of performance, aesthetics, character, and genre, can also reveal features of human–robot interaction key to creating humanoid robots that are likeable rather than uncanny. In particular, this can be achieved by relating Mori's (1970/2012) concept of total appearance to realism. Realism is broader and more subtle in its workings than is generally recognised in its operationalization in studies that focus solely on appearance. For example, it is complicated by genre. A realistic character cast in a detective drama will convey different qualities and expectations than the same character in a dystopian drama or romantic comedy. The implications of realism and genre carry over into real life. As stage performances and robotics studies reveal, likeability depends on creating aesthetically coherent representations of character, where all the parts coalesce to produce a socially identifiable figure demonstrating predictable behaviour.

Écran et roman sur la scène. Réflexion croisée sur trois spectacles de Krystian Lupa

"Screen and Novel on Stage: a Cross Reflection on three Krystian Lupa’s Shows. Through the analysis of three shows – City of dream based on The Other Side by Alfred Kubin, Gargoyles and Cutting Timber based on Thomas Bernhard’s novels – this article aims at highlighting the specificity of on-stage video in Krystian Lupa’s work. Best known for his adaptations of long novels focusing on conscience and interiority, Lupa supersedes a basic use of video and uses it as a real means for the exploration of the characters’ psyche. More than a mere visual element facilitating the transition from novel to stage, video is for Krystian Lupa a way to interrogate the relationship between all the elements of theatre: indeed, it questions the actor’s relationship to the character he embodies, as well as the relationship between the spectator and what happens on stage. Keywords: Krystian Lupa, Alfred Kubin, Thomas Bernhard, video, adaptation of novel, character, actor."

Ceremonias en el teatro Náhuatl

The speakers of Nahuatl dialects compose the largest group of indigenous people in Mexico. Numbering about 800,000, they live primarily in the Federal District and the states of México, Morelos, Puebla, Tlaxcala, Guerrero, Veracruz, and San Luis Potosí. Smaller populations can be found in Jalisco, Nayarit, Oaxaca, and Tabasco. The proportion of Nahuatl speakers in central Mexico is declining, but their absolute number is fairly stable and is augmented by millions of Spanish-speaking villagers who preserve elements of Nahuatl heritage. According to the testimonies, it is given as a fact that the Aztecs resorted to theatrical practices closely linked to the agricultural cycle through representations in which live action exceeded the fictional character of other forms of theater. This paper includes a diversity of perspectives related especially to the theatrical and religious culture of Nahuatl civilization and arises from the interest to know the meaning of the Nahuatl pre-Hispanic festivities, for that reason we can know the Nahuatl ceremonies and, at the same time we can know the principle of their duality. In this paper, two hypotheses are made: a) Mexica culture practiced ritual and theatrical demonstrations that prove the existence of a sui generis theater. b) The principle of duality was united and represented in the artistic manifestations, among them the theatrical ones. In this way, the prehispanic theatrical elements of the Nahuatl people are analyzed, in which the primordial characteristic of their duality prevails.

Adaptation of Nusantara Fable Story in a Circus Show

Along with the times, traditional arts slowly began to fade. So, it is with traditional folk tales. It is important to keep traditional stories known and understood by children. Introducing the arts, especially performing arts, can be done from an early age, carried out by parents, teachers, to certain communities. For children, of course, an easy and interesting way is needed so that they can be enjoyed until a show is over. The concept of the show 'The Fabulous Fable Show; Circus and Theater 'is a concept that was initiated as a form of love for the local culture of the archipelago, collaborated with circus performances as one of the main branches of the performing arts. Circus shows generally feature attractions such as juggling, spinning, acrobatics, or attractions that use animals such as lions, tigers, elephants, and others. To make this show even more interesting, the concept maker included a theatrical element by bringing up the fable story from Indonesia. The fable story was chosen because the characters used were taken from animals and made children interested in the play that was performed. From there, children can recognize emotional expressions, such as joy or sadness that arise from a dance movement or song that is played.

Arte como potência de si, a peça-conferência e o ator-epistemólogo

Nos últimos anos, a peça-conferência surgiu como um formato importante na prática do teatro contemporâneo. A partir de um processo genealógico que anuncia um possível lastro de identificação e reconhecimento, os autores exploram em recentes produções teatrais elementos e características que configuram essa prática teatral híbrida que incorpora elementos espaciais e materiais tanto da palestra acadêmica quanto da performance artística e sugerem a presença de um novo ator, o ator-epistemólogo.

Трансформация оркестровки в Рапсодии на тему Паганини Сергея Рахманинова и джазовые идиомы

The breadth of the orchestra’s transformation in Rachmaninoff’s Rhapsody on a Theme by Paganini in comparison with his concertos and the impact of jazz on this process have not been thoroughly examined yet, despite the fact that a number of research works has been written on the subject, even though it was the element of jazz which introduced a new level of freedom to the composer’s use of the orchestra. The presence of jazz in this work was demonstrated by a renewal of the list of instruments, by the inclusion of additional specific woodwind instruments and the increase of the density of the percussion instruments because of varied and regular use. An unusually wide palette of timbral effects in the orchestra used by the composer in his work and the frequent introduction of instrumental solos in certain sections of the work raise quality of each of the timbres to a new level of significance by promoting contrast juxtapositions. These changes explain the modification of the functions of the piano and the orchestra in the concerto, as well as the change of Rachmaninoff’s approach to the orchestra: the “orchestra as a whole” is often replaced by the “orchestra as a union of soloists”, based on an approach similar to Mahler’s. These processes are a result of the growth of the theatrical element and are related to the influence of American show culture of the 1920s-1930s in general and the jazz orchestra in particular. The impact of jazz on Rachmaninoff's orchestra is predominantly indirect, rather than direct, as in Gershwin’s symphonic works. However it is precisely this fact that explains the multiplicity of manifestations of jazz and the diversity of its semantic meanings in the Rhapsody. Keywords: Rachmaninoff, Gershwin, Rhapsody on a Theme of Paganini, jazz, symphonic music, concerto orchestra.

Religious and Philosophical Implication of Opera Jake Heggie’s “Moby Dick”

It is stated that interpretation of classical literary works in the art of the 21st century is a problem that is increasingly facing researchers. From this point of view, the stage adaptation of H. Melville’s novel “Moby Dick” by American composer J. Heggie, is an example of the careful preservation of the timeless philosophical and religious content of literary basis. Thereby the work of the opera authors on the novel’s text, the polystylistic features of J. Heggie’s musical thinking, the composer's mastery in the construction of the character system became the subject of the detailed scientific analysis. The purpose of the study was to identify methods of the reflection of philosophical issues in the opera “Moby Dick” by J. Heggie. It was found that composer J. Heggie and librettist J. Cheer skilfully rethought the most significant theatrical elements of G. Melville’s novel. Attention to the dramatic aspects of the story and a clear understanding of the psychological individualities of characters has transformed the world-famous literary text into a vivid musical story. The opera preserves and reproduces the archetypal symbolism of the novel “Moby Dick”: worship, pilgrimage, initiation, sacrifice. The pagan motives of hunting, killing, dismembering the flesh, consecrating of blood are contrasted with the purely Christian understanding of the ideas of salvation and resurrection. It is proved that the work of composer J. Heggie reflects one of the promising ways of developing contemporary opera. Moby Dick is pushing the boundaries of its genre: the creators of this neoromantic opera are rejecting outdated stereotypes, adding cinematography elements, overcoming the barrier between the spectator and the stage. At the same time, the opera has an accentuated classic nature (well-written libretto, number structure, impeccable vocal lines and orchestration); it combines the extraordinary lyricism and the diversity of philosophical and religious content. The example of the opera of J. Hеggie “Moby Dick” shows the possibilities of modern stage embodiment of the complicated literary works of classical writers. It is concluded that the music of the composer J. Heggie in a sense fulfils the role of the metalanguage, because it expresses the deep meanings embedded in the text of the novel, which formally remained beyond libretto